ISLAMIC ARCHITECTURE

RIYAS MS
 ISLAMIC ARCHITECTURE
Islamic architecture is the entire range of
architecture that has evolved from Islam as a
social, cultural, political and religious
phenomenon. Hence the term encompasses
religious buildings as well as secular ones,
historic as well as modern expressions and
the production of all places that have come
under the varying levels of Islamic influence.

CLASSIFICATION OF ISLAMIC ARCHITECTURE

Islamic architecture can be classified according to

•Chronology
•Geography
•Building Typology

Islamic architecture in Malaysia The grandeur of Islamic architecture in Mosques,

Algeria

ELEMENTS OF ISLAMIC STYLE

 Islamic architecture may be identified with the following design elements:

 large domes
 minarets (towers)
 large courtyards often merged with a central prayer hall
 the use of iwans to intermediate between different sections
 use of geometric shapes and repetitive art (arabesque)
 extensive use of decorative Arabic calligraphy
 use of symmetry
 ablution fountains
 a mihrab inside mosques indicating the direction to Mecca
 use of bright color
 focus on the interior space of a building rather than the exterior
How Islamic Architecture Can Inspire Contemporary
Architecture
GENERAL PRINCIPLES
 . AUTHENTICITY
Authenticity is one of the principles which Islamic Architecture is based on. However,
‘authenticity’ is not synonymous with ‘newness’ here. Instead, it refers to keeping up with
local traditions but without imitating the past. This requires a deep study of traditional
architecture (which is the greatest form of heritage today).

When Islam spread wide, Muslims adopted

building practices of each place they inhabited
but adapted them to suit their Islamic identity.
Dome of the Rock, for instance, used local
colors and old Roman columns in a way that
conformed to Islamic tradition. This ‘adopt &
adapt’ policy can inspire contemporary architects
to use traditional building techniques in a new
manner.
 MODERNITY
Islam embraces modern science because
the Quran encourages its readers to study
and explore. Accordingly, Islamic
architecture embraces the latest building
technology, but without seeking to oppose
historic building practices. Such a balance
between modernity and tradition makes
room for endless design opportunities in
the contemporary world. That way,
architecture would not lose the identity of
place nor the essence of time.
 LOCAL MATERIALS, TECHNIQUES & GEOGRAPHY
Many contemporary buildings stand awkwardly in their surrounding context as they blindly
imitate western ideals. Islamic Architecture, on the other hand, promotes harmony
between buildings, environment, people, and their Creator. The great Mosques of
Cordoba, Edirne, and Shah Jahan, for example, used local geometry, materials, and
techniques to express the order and unity of Islamic Architecture in their own way.
 USER-CENTRICITY
‘Islam’ literally means ‘submission to the will of
the Creator’. A person who chooses to submit
then carries out all his/her daily activities
accordingly. Therefore, Islamic architecture
facilitates activities of the users
comprehensively in all building stages of
design. Meaning, you start thinking about the
users’ needs and ambitions from the conceptual
phase all the way to your final renders.
 HEAVENLY & TERRESTRIAL
The religion of Islam recognizes and
fulfills both the physical and spiritual
needs of human beings. Likewise, the
heavenly and terrestrial factors in
Islamic architecture complement each
other. The endless complex patterns on
the ceilings give architecture its soul,
while the simplicity and utter practicality
give it its power.

 HOUSE ARCHITECTURE
1. Al-Jiwani
‘Al-Jiwani’ refers to the principle of providing all
living facilities within the house. Since Islam is a
complete way of life, its architecture provided
everything, including the outdoor experience,
inside the house. The inhabitants could literally
enjoy open spaces, gardens, inscription, and
ornamentation, all in the luxury of their own
houses. The courtyard, which connected all the
rooms, provided stunning views while
connecting the inhabitants to the sky.
 CLIMATIC BALANCE
Most Islamic countries are based in hot arid climates. We, sitting on a couch in our stylish
rooms, cannot begin to imagine how they could survive without air-conditioning. Well, they
didn’t, because they had natural air-conditioning – not by equipment but through the structure
itself! Malqaf, or wind catchers, were built to take advantage of the outdoor flowing wind and
provide the indoors with natural ventilation.
The housing further required strong insulation from
heat, dust, and pollutants. To counter this, the
architects provided thick walls made from clay or
wood (which are natural insulators). Floors with
rooms were raised above the courtyard so that
external air would not leak into the rooms. The
courtyard also retained pure and mild air since all
lower exits for the flowing air were blocked. The air
thus hovered around the courtyard, carrying away
its dust.

CONTEMPORARY ISLAMIC ARCHITECTURE TOWARDS PRESERVING ISLAMIC

HERITAGE
CHARACTERISTICS OF ISLAMICARCHITECTURE
 Moderation
Moderation of the Islamic nation is derived from its moderation system. The Islamic civilization was
built on the principle of moderation, which organized the movement of construction. Moderation in
the use of architectural spaces through proportionality between the spaces’ dimensions (length -
width - height) so it produce the compatibility between space’s area and their uses. Also moderation
in the use of decoration gives aesthetic values without being financially costly, and in estimating the
building’s heights because the Islam forbade the increasing in the heights of buildings, in use of
openings that is compatible with the surfaces of buildings, and in the use of interior ceiling heights
that is compatible with human scale.
 Privacy
Important Islamic principle means the control in social communication and behavior with others,
whether at the level of the individual or group. For example privacy in specifying certain conditions for
building heights and the organization of the tracks in the streets in a rotated special way (figure 1), also
preventing the establishment of markets or shops in residential areas, and using the indirect refracted
entrance to achieve privacy and its planning in the form of a corridor, or refracted bent corridor leads to the
entrance door.

streets organization in a rotatedspecial way indirect refracted entrance to achieve privacy

 Privacy clear in using the interior courtyard in the planning of Islamic housing to open windows
for the purpose of ventilation,
 lighting and avoid opening windows on neighbors ,
 Using Mashrabia to achieve seeing the street behind it and do not allow anyone in the street
to see inner spaces , and
 special reception halls design, it is location in ground floor away from the living rooms and
bedrooms, which was placed in the upper floors, as well as the division of dwelling into two
main parts are Salamlek was dedicated to the men, and the haremlek, which was dedicated to
women.

interior courtyard Islamic Mashrabia

 HUMAN SCALE

Islamic architecture is based on the organic

relationship between people’s needs and their social
and climatic environments, and their beliefs. The
human scale in Islamic architecture was
consistent with the environment of inhabitants,
their traditions, and the spirit of Islamic civilisation.
The design of the different spaces differ depending on
its function, the bedrooms was with low height roof,
but the reception with high height roof

 NATURAL VENTILATION
Islamic architecture is based on using different treatments and elements to avoid the high temperature
and to adapt with the climatic environments.

using interior courtyards andsistrum

Mashrabia provide shade within the housing without complete closure of the window and allow the
movement of air, which helps to reduce thetemperature in the summer

Mashrabia provide shade within house without complete closure of window.

Controlling the heat transfer between the external environment and internal spaces of the building by the
type of building materials. Using light colours in external façade and the use of building materials with high
density like brick, mud and stone. Also using vaults and domes to exceed the speed of air in the internal
spaces.

 VARIETY WITHIN UNITY

The variety of Islamic styles is considered an evidence for the role of creativeness in enriching
architectural design; this variety is the result of Islamic encouragement of contact with other cultures.
The great variety of ornaments and calligraphic styles testify to the boundless creative talents of the
Muslim artist. Further evidence of this richness is given by the imposing monuments in Isphahan,
Baghdad, Damascus, Cairo, Al Qairawuan, and Cordoba, which all span fifteen centuries of the history of
Islamic civilisation.

Great variety of ornaments in Islamic Architecture but within theunity.

 PRESERVING OF ISLAMIC HERITAGE IN CONTEMPORARYARCHITECTURE

There is a new Architectural direction today in the Arabian Region that Depends on the return
to the Islamic roots and heritage considering it as the main source of ideas and modern
formulations, to create a new architectural forms that combines the output values of
contemporary architecture with the aesthetic values of the Islamic heritage, and this direction
can be divided into three trends:

A – EXPLICIT RESTORATION TREND:

Based on the restoration of heritage and traditional architecture through the reusing and repetition of its
ancient historical vocabulary and formations asthey are without any modification or
Renewal.

Explicit Restoration Trend

B– COMPOSITE TREND:
Dealing with the architectural heritage as a source of formulations and vocabulary and spatial
relations, and this trend depend on the metaphor of several heritage formation vocabulary and
trying to formulate it within the contemporary architectural production.
C- ANALYTICAL TREND:
It based on re-conceptualization of the Islamic heritage vocabulary, whether visual or functional or
social in a modern forms which compatible with the community requirements and with the conscious
application of high technology and green architecture.

Re-conceptualization of theIslamic heritage vocabulary in Analytical Trend

D- ON THE LEVEL OF PLAN:

Developing the concept of the plan from the abstract geometric Islamic forms, and re-
interpretation of Islamic patterns as architectural plan

Re-interpretation of Islamic patterns as architectural plan.

 E- ON THE LEVEL OF 3D FORMS:
Developing the concept of the forms and 3D compositions from the abstract geometric
Islamic forms creating formal metaphors.
For example, Sure Architecture's Perforated Yinchuan Exhibition Centre Reflects Islamic
Architecture in Northwest China which has strong historic ties to Islamic culture, architecture and
design. Drawing upon this tradition, Sure Architecture incorporated Islamic patterns into their
plans for the Exhibition Center, an innovative green museum with a beautiful etched facade.
Combining traditional Chinese materials with Islamic design motifs.

Sure Architecture's Perforated Exhibition Centre

GEOMETRIC PATTERN DESIGN DEVELOPMENT

Design concept derives from traditional Islamic patterns and‘mashrabiya’.

  VISIBILITY:

The Mashrabiya comprises a see-through fabric mesh (PFTE), providing occupants with views to the
outside even when the screen is completely closed . This dynamic system will also allow the
utilization of glass with higher transparency and lower reflectivity.

The Changing Character of Arab Cities and the Contributions of

Islamic Architecture

Traditional skylights (upper left & lower left) are produced currently by forming
reinforced concrete to have similar elements.
Lower: School of Music
Damascus, Syria: New form
depends on available technology
 Technology are used to reproduce specificdetails in industrial manners as per traditional
wooden screens (left) to have them in new materials:
1. prefabricated lime boards (middle)
2. formed steel (right)

Two remarkable works of Hassan Fathy representing his imagination of how

Islamic Architecture would deal with
community needs. Right: Akil Sami House, 1987; Left: New Gourna Village,
1943.
 Architects’ trials to produce new forms and
concepts with respect to values and ideals of
Islamic Architecture.
Top-Left: Islamic Souqe in Sharjah, UAE
lower-Left: Islamic Bank of Dubai, Sharjah.
Middle: Al-Basra Sheraton, Al-Basra, Iraq.
Right: Al-Azhar

THE PHILOSOPHY OF I SLAMIC ARCHITECTURE

The philosophy of Islamic architecture is derived from the general

philosophy of Islam and is a reflection of that philosophy at the same time.
Islamic philosophy focuses on the internal dynamics of the human entity in
relationship with its external manifestations, integration between that entity
and the Creator, and that the basic values of life are those related to the
submission to the Creator, and equality among human beings.
Such philosophy was reflected in the field of architecture in the emphasis on simplicity f the
buildings and their integration with the environment. Further, there is an emphasis on the absence
of external vernacular designs, and complex details, and that the buildings should enable the
Muslim to achieve its ritual and spiritual obligations to the Creator, and its social commitments
without impinging on the privacy of his life. The building itself is not the target. The real target is the
fulfillment of the Muslim’s spiritual and social obligation. The buildings should enable the Muslim to
achieve these objectives rather than to show richness and grandeur.

External Façade and internal

courtyards, shows internal
orientation of Bait Balit, Aleppo,
Syria,
16th Century.
Courtyard House in Qustul,
Nobia, similar house planning to
those in Islam beginnings.

Left: Contemporary Islamic House, Egypt. Zar’ouni House, Sharjah, UAE, 19th Century
 SOME ASPECTS OF INDO-ISLAMIC ARCHITECTURE
IN the seventh and eighth centuries CE, Islam spread towards Spain and India. Islam came to India,
particularly, with Muslim merchants, traders, holy men and conquerors over a passage of six
hundred years. Although by the eighth century CE, Muslims had begun to construct in Sind,
Gujarat, etc., it was only in the early thirteenth century that large-scale building activity begun
under the Delhi Sultanate,

 By the twelfth century, India was already familiar with monumental

constructions in grandiose settings.
 While arches were shaped in wood and stone, these were unable to
bear the weight of the top structure.
 The archuate form of construction was introduced gradually in which
arches could support the weight of the domes. Such arches needed to
be constructed with voussoirs and fitted with keystones.
 The domes, resting on pendatives and squinches enabled spanning of
large spaces leaving the interiors free of pillars.

CATEGORIES OF STYLES
The study of Indo-Islamic architecture is
conventionallycategorised into the Imperial Style
(Delhi Sultanate), the ProvincialStyle (Mandu, Gujarat,
Bengal, and Jaunpur), the Mughal Style (Delhi, Agra,
and Lahore) and the Deccani Style (Bijapur, Golconda).
These categories help in understanding better the
specificities of architectural styles rather than putting
them in immutable slots.

Intricate jali work,

Amer Fort, Jaipur

DECORATIVE FORMS
These forms included designing on plaster through
incision or stucco. The designs were either left plain
or covered with colours. Motifs were also painted
on or carved in stone.
 These motifs included varieties of flowers, both
from the sub-continent and places outside,
particularly Iran.

Dado panel on Pietra dura work, Agra

the wall,Agra
MINARS
Another form of st am b h a or tower was th e minar, a
co m m o n feature in t h e sub-continent . Two m o st
striking m in ars of medieval times are th e Q u t u b
Minar in Delhi a n d th e C h a n d Minar at
D a u lata b a d Fort.

C h a n d Minar, built in t h e fifteenth centu ry,

is a 2 1 0 - feet-high tap erin g tower divided into
four storeys.
Painted p e a ch now, its façade once b o aste d
of chevron patterning o n t h e e n cau stic tile
wo r k a n d b o ld b a n d s of Q u r a n i c v e rs e s .
Although it looked like a n Iranian m o n u m e n t , it
was t h e combined handiwork of local architects
with those from Delhi a n d Iran.
Chand Minar, Daulatabad
TOMBS
M o n u m e nta l s t r u c t u re s over graves
of ru le rs a n d royalty wa s a popular
feature of medieval India. Some well-
known examples of s u c h to mb s are
those of Ghyas u dd in Tughlaq,
H u m ay u n , Abdur Rahim Khan-i-
Khanan in Delhi, Akbar and
I t m a d u d d a u l a in Agra. According to
Anthony Welch, th e idea b eh ind th e
to m b wa s eternal p a r a d i s e a s a
r e w a r d for t h e t r u e b e l i e ve r o n Tomb of Itmaduddaula,Agra
t h e D a y of J u d g e m e n t . T h i s le d to
t h e p a r a d i s i a c a l i m a g e r y for t o m b
construct ion .

STRUCTURES FOR COMMON

PEOPLE
On e of t h e a r c hi t e ct u r al f e a t u r es of
medieval Indi a w a s also a coming
together of styles, t e ch ni qu es and
decorations in public a n d privat e s p a c e s
of non-ro ya l s e ct i o n s of t h e societ y. The se
i n c l u d e d b u i l d i n g s for d o m e s t i c u s a g e ,
t e m p l e s , m o s q u e s , k h a n q a h s (hermitage
of Sufi saints) and dargahs,
commemorative gateways, pavilions in
buildings a n d gardens, baz aars, etc.
 TAJ MAHAL
The sublimity of t he building comes
from i t s o r d e r l y, s i m p l e p l a n a n d
elevation, amazingly perfect
proportions or symmetry, the ethereal
qualit y m arbl e h a s lent to it, t h e
perfect setting of bagh a n d river a n d the
pure outline of the tomb silhouetted
against the sky. The pat ina t he Taj h a s
lends it a different h u e at various times
of day a n d night.

The Taj compl ex is e n t e r e d t h r o u g h a m o n u m e n t a l

red s an d s t o n e gateway t h e opening a rch of which
beautifully frames the m ausol eum . The t omb is laid out in
a Chahar Bagh , cri ss -c rossed with p a t h s a n d wa t e r
courses, interspersed with pools a nd fountains. The
s t r u c t u r e is p l a c e d o n t h e n o r t h e r n extremity of the
bagh inst ead of the middle to t ake advantage of t he river
bank .

These are stone carvings in high a n d low relief on the walls, the delicate
carving of marble into jalis a n d gr a c eful vol ut es (s p i r al orn am ent on the pillar),
a n d the creation of a r a b e s q u e s with pietra d u r a (yellow m arbl e, j ade a n d
jasper) o n walls a n d t om bst ones a n d geometric designs with tessellation.
Lastly, t he art of calligraphy is u s e d with t he inlay of jasper in white marble to
write Quranic verses. Calligraphy provided a decorative element on the walls a n d a
c o n t i n u o u s c o n n e c t i o n w i t h the Almighty.
 J AMA M ASJID
Large m o s q u e s , s p a n n i n g h u g e
spac es, also dotted t he l a ndscap e of
t he Indi an sub -co nt i nent in
medieval t i mes . Congregational
p r a ye r s were h e l d h e r e e ve r y
Friday afternoon which required
t h e p r e s e n c e of a m i n i m u m of
forty M u s l i m m a l e a d u l t s . At
t h e t i m e of p r a y e r s (on Fridays) a
Khut ba was r e a d o u t in t h e n a m e of
t he r uler a n d hi s laws for t h e r e al m
were also r e ad out . In medieval
times, a city h a d one J a m a
Masjid, which along with its
J a m a Masjid, Delhi i mmedi ate s u r r o u n d i n gs b e c a me t h e
f ocus of t h e lives of t h e people, b o t h Musli m a n d n o n -M u sl i m.
This h a p p e n e d b e c a u se a lot of commercial a n d cul t ur al exchange s
were c o n c e n t r a t e d h e r e b e s i d e s religious a n d i ndi r ect political
a ct i vi t y . G e n e r a l l y , s u c h a m o s q u e w a s l a r ge w i t h a n o p e n
court yar d, s u r r o u n d e d o n t hree sides by cloisters a n d t h e Qibla
Li wan in t h e west. It w as her e t h a t t he mihrab a n d t h e mimbar for
t h e I m a m were l ocate d. People faced t h e mi hrab while offering
pr ayer s a s it indicated t h e direction of t h e Kaaba in Mecca.

Plan of Jama Masjid

EDUCATIONAL SYSTEM
Educations were free and open to
everyone in the sense that anyone
entering the mosque can choose to
listen to a teacher or the other and
choose one seminar over the other.
It is normal that some famous
teachers had large numbers of
students at theirseminars.

Cairo (Egypt): An educational seminar at Al-

Azhar mosque. From: K.A.C. Creswell

Amasiya (Turkey):Jock School and

Baghdad (Iraq): Mustansiriyah School: a view from
Mosque.From: F. Fusaro
the Grand Courtyard and horizontal
 ARCHITECTURAL ELEMENTS
DOMES

MUQARNAS
The ornament is created by the geometric subdivision of a vaulting structure into miniature,
superimposed pointed-arch substructures, also known as "honeycomb", or "stalactite" vaults.
Made from different materials like stone, brick, wood or stucco, its use in architecture spread over
the entire Islamic world. In the Islamic West, muqarnas are also used to adorn the outside of a
dome, cupola, or similar structure, while in the East is more limited to the interior face of a vault.

The muqarna of a mosque in Bukhara, Uzbekistan Design of a muqarnas quarter

vault from the Topkapı Scroll

Muqarnas in the Alhambra Muqarnas in the necropolis of Shah-i-

Zinda, Samarqand